LeftyJ

Point taken, I assume. I would personally always try to get a deal outside of Reverb or via the seller's own shop (but only if they're a business, it could be unsafe to do this with a private seller). Reverb sell rates are very high, and you can easily save 10% or more when buying from the seller directly. This Aria is an exception though, it is listed at their own site at exactly the same price: https://www.gasstationguitars.com/product-page/aria-diamond-series-dmb-380-bass-scarce-hot-pink-finish

Seems they're rescaled, and all are clipped at the 12th fret. Except for the Wal, which has no frets 😉

Maruszczyk = Mensinger The Cazpar is a shortscale bass, maybe their shortscale strings come from a different supplier? I see they sell both longscale and shortscale strings under their own brand, but who knows where they're made.

That looks incredible! I love your choice of woods, and the contrasting layers between the core and the top really make it pop. Beautiful!

This can mean different things to different people, but here's what I would consider: I would go very basic, and go for passive Jazz Bass pickups and a simple 2-band EQ plus a passive tone control to roll off sharp highs. I would look closely at the center frequencies of the EQ controls though. Something like an Aguilar OBP-1 has the bass pot centered at 40 Hz and I hate it, because it only boosts the sub lows and adds low-end rumble but also a lot of mud. I have an OBP-3 in a custom 5-string and it's a great pre, but I rarely touch the bass control for that reason. I quite like the MEC preamp in my Warwicks because the bass control is centered at 100 Hz with a fairly broad range, and also adds a slight bit of low mids and punch. It works well to add warmth and punch for a great slap tone. That bass boost plus a treble roll off gives a huge range of tones, and will get you all the traditional Jazz Bass tones plus a modern active slap tone and everything in between. I have owned two TRB5II's by the way, so I know these basses well and they are indeed very good! I loved the neck profile, the tones and the looks, but I didn't love the feel of a 35" scale. The stock preamp was good and flexible, but the EQ controls were fairly subtle to my ear.

Why? What is it that you don't like about the tone that makes you want to change the pickups and electronics? What type of tone are you looking for? From your post, I gather you don't really seem to know yet.

I don't really care whether a bass is active or passive, as long as the neutral tone is good. I used to be a real knob fiddler (I'm sure I will come to regret this choice of words ) but over time I've come to appreciate simple controls that I need to touch as little as possible. I don't like having to tinker with controls to get the basic sound I'm after: I want my passive basses to sound good with everything wide open, and will only use the controls for small adjustments. Same goes for my active basses: I want them to sound good with everything set to neutral / flat, and will sometimes slightly boost the lows and cut the highs to taste, but I don't want to have to fiddle with knobs to find my go-to tone. It just has to be "there" without having to search for it. A filter preamp like what Alembic or ACG makes probably wouldn't be for me.

And make sure you know your titles I was in a band that wrote its own original music, but until the songs had a lyric and an actual title, we would number them. All good, until the singer made the setlists and only put titles on it. I was completely lost, after having worked on these songs for such a long time and only ever using the number to refer to them. I've since learned all titles by heart but we also kept putting both the number and the title on the list. Still, I'm sure there must also have been some fans who have been extremely puzzled when they took home a handwritten setlist that only said 17 - 24 - 21 - 5 - 23 in sharpie

Brian Bromberg is an interesting one. Basically, he appears to have trademarked "his" signature shape so he was able to take his signature bass model from one manufacturer to the next. Same thing happened with Eddie van Halen, who wasn't happy with Music Man when they continued producing the EVH signature guitar als the "Axis". So he trademarked the Peavey Wolfgang design including the headstock, and took it with him when he went to Fender who created the EVH brand for him. Peavey B-Quad (with a graphite Modulus neck I think?): Dean B2: Carvin / Kiesel B2:

Awesome find! I hope it's as good as you remember it I had a B2A for a short while, only sold it because a gear on one of the cam axles of my previous car broke, and I had to finance another car. It was a great bass, I liked the Select by EMG pickups a lot more than I expected I would and the preamp was super agressive. Lovely bass, very punchy. Weird ergonomics, I bet the Jack is even nicer playability-wise!

I have used them on all my basses except my Status headless basses (I use Status Hotwire double ball strings on those) for the last 15 years and love them. They feel really slick and smooth, and retain their brightness and clarity for a really long time. They don't sound overly bright when new. I love them. Only comparison I've had in the meantime were D'Addario nickels (on my Carvin LB75 - sounds fine, but the low B died real quickly -within three weeks of non-frequent use- and the rest followed suit after two months). Depending on how much use my basses get, my Elixirs last between one and two years. When I regularly gigged, and rehearsed weekly, they would last about 6 months before I found them lacking clarity and attack.

Lefty Peavey T40 (doesn't exist) Lefty Fender Mustang (rare as hen's teeth because Fender won't make new ones, and therefore ridiculously expensive) Lefty Kubicki ExFactor (only one known example, but it has a righty neck with the D-tuner at the bottom - and Philip Kubicki has sadly passed)

This, for me too. Nearly everything I currently own was bought used. My most expensive bass purchase was a brand new Rickenbacker 4003 in Mapleglo from Guitar Guitar, which cost me £1516 + £35 shipping back in 2009, but it was nowhere near my "best".

I've had several PJ basses, and didn't bond with some but loved others. Can't really put my finger on how or why to be honest, but I recon it must have something to do with experience. I've never been one to tweak knobs a lot and put a lot of effert into finding tones I like. I've always appreciated basses where I could just set the controls to neutral and max the volume and get a good base tone. If that didn't work for me, a bass was often quickly dismissed. Nowadays I do appreciate having to fine-tune the controls a little before getting a useful and good tone from a bass. 1987 Ibanez SR800LE with active pickups: sounded nothing like any Fender (obviously). Totally had its own thing going on, and it wasn't for little, inexperienced me back then - but I might like it now. Very clean, somewhat bright and a fantastic slap tone (I played a lot of RATM on that bass!); 1990s G&L SB2 with the most loudmouthed splitcoil I've ever experienced: MFD splitcoil + singlecoil, with just two volume controls and nothing more. Could do a traditional Fender P-bass tone when I kept the volume below 80%, but would eat woofers for breakfast with the volume maxed: really loud, high-output with very strong low mids. The bridge pickup was useless on its own to me, but worked great for using it as the "tone control" of the splitcoil. Wasn't for me, I'm a everything-at-10 kind of guy and that was too much on that beast. It was beautiful and played great, and I really wanted it to work out; 1981 Ibanez RS924: fantastic. Did a great P-bass tone and amazing slap tones. Only sold because in the end, I found that thinner and narrower necks suit me better; 1983 Ibanez MC924: fantastic. Will never sell that one! It's just one month younger than me, it looks like it went through a LOT but it plays and sounds fantastic; 2001 Warwick Streamer LX: only bought it because it was cheap and I wanted to try one. Quickly became my favourite 4-string ever! The active reverse P + J sounds bright and hifi but the on-board 2-band EQ is voiced very nicely and offers a huge range of tones. Won't do traditional Fender tones, and the J pickup is too weak to use on its own but I've really come to appreciate what this bass can do. Only the MC924 and the Streamer are still mine, I sold the others.

That thing frightens me I'm a huge fan of the Warwick bridge. The adjustability is great: - the saddles can be raised and lowered; - the intonation range is huge; - the string spacing can be adjusted (limited adjustment range, but it's there); - the bridge as a whole can be raised and lowered; - everything solidly locks into place. It has some downsides too though: - the stock bridge on Rockbass and most German basses is a cast metal job, and on 6-strings and Broadneck 5-strings has been known to bend under string tension. There is a version machined from solid brass, but it comes at a cost (scary money); - the separate tailpiece is picky about string gauge: too thick and you'll need to squeeze it flat with a pair of pliers first or it won't fit; - it's pretty big, and requires routing for both the bridge and the separate tailpiece.

My disappointment was immeasurable when I clicked the thread and it wasn't about Super Mario. I misread

I think that Torpedo bridge was a concept by an engineering student who did an internship at Aristides Guitars? Very cool and clean concept, I like it! I think the top picture shows an Aristides 050 as well?

Calm down now, nothing to lose your head over.

The emoticon won't show, so I'm not sure if you're trolling or being serious but literally no two are the same.

Ibanez just released a unique range of 50 one-of-a-kind custom shop guitars and basses to commemorate 50 years of Hoshino USA. Some are made in their LA custom shop, and some in their Japanese shop. Most are guitars, but there are some basses among them as well. They won't be available outside the US, and there's only one of each but I thought they were too beautiful not to share 😎 Each one of them has a story, and several detailed pictures. https://www.ibanez.com/usa/special/50th_Anniversary/50-guitars.html

My band used it in 2013 when we recorded an album. We recorded the guitars through a buffered splitter, with one channel straight into Cubase and one channel going through an AxeFX to have the feel of the amplified tone while recording. The guitars were then reamped through a Radial X-amp reamp DI (to solve any impedance issues when going from a line signal back to an instrument input) into an ENGL Powerball with a mic'ed ENGL 412 and a Mesa Mk IV with a dual-mic'ed Mesa Road King 412 cab (dual mics because one half of the cab is closed-back with V30's and one half is half-open back with Celestion Custom 90 and sounds very different). Worked a treat! We have the luxury of our own rehearsal space in a former cable factory, which we share with our sound engineer, who has built a brilliant studio in the same space with a well-insulated control room, and we did the re-amping at night when the building is empty so we didn't bother anyone with the volume.

Passive basses: all controls wide open. Active basses: volume wide open, EQ controls all at the center detent and ocassionally changed to taste when the song asks for a subtle boost or cut. Exception: my Status S2 Classics. They have a filter-based mid control that's finnicky, with a variable frequency sweep and fixed boost and cut. I don't touch it much as it can be a bit overwhelming, but I try to leave the filter knob in one position that just "works" for a solid low mid boost, and leave the switch in the center (off) position until I need said boost. I never use the cut setting because it comes with a significant volume drop. It's mostly a set-and-forget affair for me.

Antigua! Or 1961 Surf Burst.

LOL, never gets old huh?